Klemm's, Prinzessinnenstraße 29, 10969 Berlin, Germany
Groover's works remind less of the supposed authenticity of the observed moment associated with the photographic medium but rather show a consciously staged image.
Arsenal Montreal 2020 William Street Montreal (Quebec) H3J 1R8 Canada
Ed Fornieles, Matt Goerzen, and Hannah Perry’s haptic, multimedia installation environments in “I feel we think bad”, demonstrate the notion that art depicting networked life readily explores how representational art can be abstract, and how abstract art can be representational.
OSR Projects, Drill Hall, Easton Lane, Portland, DT5 1BW
Devised as a response to flooding, extreme weather, and our changing relationship with the natural world the Weather Station has, for two summers now, travelled around South West England gathering traces of its journey and of the actions of its residents. Review by Trevor H. Smith
MMK 3, Museum für Moderne Kunst, Domstraße 10 60311 Frankfurt am Main
A sense of uncertainty adds to the overall effect of Prouvost’s work. This is another world, or rather it is our world stained, oddly seductive and uncertain. Review by Laura Mansfield
Blenheim Palace, Woodstock, Oxfordshire OX20 1PP
Oscar Gaynor reviews a large scale exhibition of works by Michelangelo Pistoletto inserted into the opulent interiors and exteriors of Blenheim Palace.
Marian Goodman Gallery, 5-8 Lower John Street, London W1F 9DY
The title of Giuseppe Penone’s show at Marian Goodman – ‘Fui, Sarò, Non Sono, or I was, I will be, I am not’ – plays off the theme of growth and change. Sculptures and drawings, mainly of trees, are twisted, moulded and developed throughout the space, assuming a new identity. Review by Phoebe Cripps
Maureen Paley, 21 Herald Street, London E2 6JT
Piers Masterson reviews a solo exhibition of works by Olivia Plender that bring together a number of perspectives on historical and contemporary political agendas.
The Java Project, 252 Java Street, Brooklyn NY 11222
For the length of his exhibition at The Java Project Ian Giles converts the gallery into a semi-functional space, a place for groups to meet and activities to be played out. The gallery which is housed within a studio complex will be utilised for a series of events including a one off Movie Club, artist critique groups and a closing event which will include Giles’ interactive performance Clay Meditation.
Tramway, 25 Albert Drive, Glasgow G41 2PE
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If Namo Āto proves anything, it’s that we need to see more work by artists with learning disabilities in mainstream contexts, whether it’s perceived as 'Outsider Art' or not. Review by Joe Turnbull
Jerwood Visual Arts, Jerwood Space, 171 Union Street, Bankside, London, SE1 0LN
Phoebe Cripps reviews the Jerwood Drawing Prize 2016, the largest annual open exhibition for UK-based artists. The Prize celebrates the breadth of drawing practice and creates new dialogues about the continued relevance of drawing in an increasingly diverse and digitally-led age.
Stills Centre for Photography, 23 Cockburn Street, Edinburgh EH1 1BP
Spence’s photographs remain shockingly relevant to current debates about care, education and a consideration of art’s autonomous or social function. Review by Victoria Horne
L. Kanellopoulos Arts Centre, 37 Dragoumi str., 19200 Eleusis Greece
Eleusis 2021 European Capital of Culture – Candidate City in collaboration with Aeschylia Festival 2016 proudly presents the group exhibition Latitudes | Humanscapes curated by Dr. Kostas Prapoglou featuring the work of seven artists, photographers and cinematographers under the theme of contemporary Romania.
Various locations, Bristol
Bristol Biennial 2016 presents thirteen new commissions on the theme of ‘In Other Worlds’. This otherness took many forms: human to non-human, present to future; from the city streets to the very air we breathe. A series of exhibitions, talks, events and satellite projects encourage encounters with, conversations on and explorations of an array of alchemically transformed locations across the city. Review by Kate Self
The Modern Institute, Aird’s Lane, Glasgow
For his second solo exhibition at The Modern Institute, Nicolas Party has transformed the Aird’s Lane space into an interior populated with temporary walls and murals meticulously rendered to resemble marble and malachite in the manner of trompe l’oeil. This scenery creates a faux-classical setting to present Party’s new body of pastels on canvas.
